Chopova Lowena and Their Exploration of Cultural Heritage Within the Scope of Fashion

Emma Chopova and Laura Lowena are two friends who have taken over the fashion scene with their singular brand image and products. Whilst Chopova is American and Bulgarian, and Lowena is British, the pair have become successful through their Anglo-Bulgarian fusion of a fashion house. Inspirations are drawn from rather niche references that tend to date back to earlier years in America, England and Bulgaria. These Western and South European combinations enable the recognisable Chopova Lowena look that transpires as a running theme and influence throughout their collections. 

Whilst seemingly explicit in aesthetic, the duo has a way of exploring niche elements and sub themes that give their collections genuine feeling and connection to their audience. One of the major inspirations is the cultural heritage of Emma Chopova being American and Bulgarian.

An example of this is the most recent collection titled ‘Cheerlore’. This collection explores togetherness found in cheerleading and American football, as well as southern Bulgarian Karakachani costume. Takes on dresses with several tiers and enlarged belt buckles, traditionally known as ‘pafti‘, feature in this collection. (Chopova Lowena, 2025) stated ‘Belt buckles and tiered dresses are taken directly from Bulgarian folklore’.

1. Karakachani Dress (Photographer Unknown, Year Unknown) 2. Spring/Summer 2026 Look 2 (2025)  3. Spring/Summer 2026 Look 8 (2025)

Historically, Bulgarian men once wore the pafti as a symbol of their place in a social ranking. After a loss of political power in the 14^th century during the fall of Bulgaria under Ottoman rule, they were often gifted to married women or women to be married. They would sit on and protect the reproductive organs. Knowing this helps one identify the brand’s androgynous element, with the pafti historically being worn by men and women.  Whilst the brand often champions boldness and taps into masculine elements that toughen up their aesthetic, the symbolism these pieces hold is an ode to the protectiveness the brand has over femininity. The belt buckles are a nod to protection of the wearer and the protection of women who came before them. This is a beautiful detail perhaps overlooked but is perhaps dedicated to Emma Chopova’s Bulgarian female ancestors.

The collection is also an example of how Chopova Lowena explore girlhood in an alternative way and through a different lense of culture. There is a focus on the aura of the high school self and vintage sportswear – a Western almost stereotypical classification of popularity and hierarchy within (usually) an American educational establishment. The masculine American footballer is reflected in the collection through the silhouettes of team jackets, and the feminine cheerleader is expressed through pompom trims and playful nods to athleisure you may see the cool cheerleaders wear if in an alternate Chopova Lowena universe.

1.    Spring/Summer 2026 Look 3 (2025)       2.    Spring/Summer 2026 Look 13 (2025) 3.  Spring/Summer 2026 Look 25 (2025) 4. Spring/Summer 2026 Look 23 (2025)

This blend of culturally recognisable characters (more so in a Western sense) embodies the androgynous version of femininity Chopova Lowena have made their own, as well as flipping these perspectives and making them into something more inclusive for people with different styles and bodies. This is reflected in the varying appearances of models showcasing this collection to push these ideologies further. Chopova Lowena, 2025 expresses the ‘hardcore uniform for girls on the field and under the bleachers’ that features a ‘push pull of blending in and standing out’. These popular ideologies whilst recognisable culturally, are now more inclusive to people who don’t have the ‘perfect’ image you might associate with these characters. Chopova Lowena are in full support of what they call ‘weird girls’ and are reclaiming this image for their audience, who have perhaps felt not enough in comparison to that cool person image. The androgynous approach aids the narrative of an exploration of girlhood in an alternative way to what we see in the media to describe this term, which could be hyper femininity or coquetism for example. This is a more punk way of referencing perhaps more niche girlhood symbols and experiences that in a way, hit closer to home with the girlhood experience – whether the consumer was the cool girl, didn’t like the cool girl, or wanted to be the cool girl. This approach also welcomes a wider clientele – they’re not just designing for petite cis women, but rather everyone else who can or wants to relate to girlhood and the air of youth, whatever their personal connection is to the subject matter.

Within a focused narrative, this collection demonstrates a translation of a response to cultural ideologies, whilst making them their own. The contrasting elements are thought to collectively contribute to the sentiment ‘gridiron to girldom’ (Chopova Lowena, 2025) - an application of strength and uniformity, as well as the frivolity often associated with a girl’s youth. The materials and conflicting features are used to bring the constant design language of Chopova Lowena to the forefront, as they envelope the multiple cultural references that makes a multi-layered collection. 

Whilst Chopova Lowena have a very specific aesthetic, there are many considerations one must review to identify the brand's target market. 

Geographically, the brand has stockists globally, to include the UK, Australia, America, Asia and Europe. One can assume that despite being based in London, Chopova Lowena are a globally minded business, with the target market not being geographically specific. The fusion of English/Western and Bulgarian influences with modern aesthetics appeals to a wider range, with these layered references enhancing their signature look. The more commercial products such as newly released perfumes are not necessarily linked to heritage, making the product portfolio more globally relatable and less specific to a particular nationality, if it wasn’t already.

Income levels are a big differentiator between admirers and buyers. The stockists mentioned previously include higher end, designer stockists such as Dover Street and Nordstrom. These customers generally have middle to high income levels, aligning with Chopova Lowena pricing points. The products could be more of a luxury, perhaps as a one-off purchase on occasion for some customers in the middle-income range, for someone who could be an emotional shopper and interested in the branding and values. Chopova Lowena taps into this through their pieces which are rich in personality and personal heritage references, which may result in purchasing. High-income customers may also be emotional shoppers at Chopova Lowena, but are likely able to be repeat purchasers for the brand. Consequently, the pricing points remain high end to cover the costs of traditional craftsmanship and sustainable values, which wouldn't necessarily deter a customer with a higher income. 

Chopova Lowena don’t target a specific gender, as seen on the website’s lack of gender orientated categories. Items are categorised by only what kind of garment they are, which demonstrates them targeting their consumer base in an inclusive manner open to all gender associations, despite their many girlhood references. It could also be the punk attitude of the brand that contributes to this unisex appeal, as non-conformity and pushing boundaries of (often traditional) heritage dress is at the heart of Chopova Lowena.  This could also be why especially in this current climate they continue to remain successful in this postmodern society. (Blanco and Reilly, 2021) discuss how ‘some scholars posit that the postmodern period is exhausted, that new circumstances have altered the values, assumptions and behaviours that characterize contemporary life and that a new cultural paradigm has emerged.’ This new age of society is generally becoming more accepting of more identities. Unisex fashion and its values are widely accepted in this age, allowing Chopova Lowena to open their creations up to everybody. Given the brand has opportunity to such a wide range of consumers their niche reference points and adaptations also contribute top how they target consumers. 

Chopova Lowena has a constant communication of youth, specifically girlhood. Whilst the average age of the audience is younger people, it is not to say that there are not older customers who enjoy youthful fashion. A way in which Chopova Lowena market their product towards generally a younger demographic is through their use of youthful models, barring some older ones. One may be more likely to relate to a brand that dresses those of a similar age range to themselves and subconsciously would feel more comfortable in the brand's community of customers, hence the tactic to do so. The overall branding of the website and social media are also very bold and whilst singular, classically youthful and perhaps more appealing to younger people overall. 

(Morgan, 2025)

The Instagram features a multitude of content, to include recent runways, celebrity features such as Pink Pantheress recently for the Fashion Awards, behind the scenes, eye-popping cartoons and photography, exhibitions and other events. Whilst varied, the Chopova Lowena style is still recognisable and cohesive with the branding. There is a good balance of more visual videos and photography, and cleaner product imagery to really highlight what is being offered. With a generally younger demographic, it is important the Instagram is engaging because this is one of the major platform's consumers use daily. The posts not exclusively promoting products are making Chopova Lowena prevalent in the mind of the consumer daily to keep them engaged with the brand, and subsequently a higher interest and aspiration to own the products. The use of noticeable faces in pop culture such as Pink Pantheress, Olivia Dean and Charli XCX further solidify a parasocial relationship with the consumer that keeps them interested in the lifestyle of the brand. Chernev, Hamilton and Gal (2011) discuss how ‘Brands create value for customers on two dimensions: by serving to signal the quality of the underlying offerings (Wernerfelt 1988) and creating meaningful associations that add value beyond the intrinsic product attributes (Fournier 1998; Gardner and Levy 1955).’ More than ever, consumers aspire to be a part of these ‘lifestyles’ brands create, so it is important Chopova Lowena continue to develop this world and present it in a way in which consumers are invested.  

(Lowena, 2024)

The website offers the same graphics as the Instagram account without so many busy aesthetics. This cleaner approach allows for an easier browsing experience and garments not getting lost in any background imagery, therefore resulting in a more efficient buying experience. Unclear product imagery could be misleading, and if consumers were to get overwhelmed and frustrated when browsing, this would potentially decrease sales and website traffic. 

1. (Home Page, 2025).                                                                       2. (Shop Page, 2025).

An advertising technique used on the website is a page titled ‘Web Exclusives’, featuring 20 products which can only be purchased online. This tactic allows for an element of surprise when browsing. One would expect the standard items available in stores also, but this may tempt some consumers to buy from the brand, specifically those of a high income, as the exclusivity can almost sell the product itself. Exclusivity is a huge selling point especially for customers who can afford such prices, as the thought of having something fewer people have seems exciting and gives the product more perceived value, thus a higher chance of purchase.

(Web Exclusives, 2025).

When discussing brand's which use cultural heritage as their inspiration, it is important to establish what cultural appropriation is, and whether it is something they are doing. Cultural appropriation describes the use of aspects of another culture in a disrespectful way, without explicit referencing to where the idea came from, and without consent. With Chopova Lowena, generally the fusion of Anglo Bulgarian historic dress and values (embedded from the designers’ heritages) combined with a modern aesthetic means the designers aren’t engaging in cultural appropriation, rather showing cultural appreciation for each other's cultures, as well as their own. In adition, the brand employs female Bulgarian workers, as well as one of the designers having a direct heritage link themselves.  Republic Of Bulgaria National Statistical Institute (2025) discuss how in the second quarter of 2025 ‘The employment rate for the age group 20 - 64 was 77.1% (80.8% for men and 73.3% for women). Although it may not seem a vast difference, there is a clear imbalance of men and women becoming employed In Bulgaria. This enhances the importance of Chopova Lowena supporting the community of Bulgarian women they employ.

The brand's collection descriptions on the website contain explicit referencing to where inspirations come from, for example Chopova Lowena, (2025) said ‘Chain mail pieces draw from Karakachani jewelry’. This explicit reference shows they are inspired by a culture with links to some of their own. Additionally, in supporting female Bulgarian workers Chopova Lowena, (2025) express how they are ‘passionate about rejuvenating cultural heritage through the preservation of traditional techniques.’ Employing natives of the culture you are inspired by not only helps build a community of craftspeople in a specific region, but that also have somewhat of a personal and perhaps emotional connection to the work they're producing, giving the work being done more meaning to not only consumers but the women of Bulgaria.

The Western cultural references used in Chopova Lowena’s collections are not necessarily linked to a specific group of people in a sacred way or related to their personal beliefs. Therefore, using them as inspiration isn't offensive to anybody, especially when they’re being altered in an empowering way. 

To summarise, Chopova Lowena are a singular duo that convey a beautiful exploration into their cultural heritage, whether that be Bulgarian folklore dress or Western vintage sportswear, by allowing themselves to be inspired by unexpected symbolisms and areas of life that allow space for consumers to connect to girlhood and what it means to them. Their design language remains constant and recognisable to the world yet still delivers unexpected outcomes each season. Their dedication to women and girls is prevalent throughout their brand, both on and off the runway – from their unaverred support of Bulgarian female artisans to their inclusive design approach that welcomes everyone into their world celebrating girlhood and cultural legacy. 

Bibliography:

Blanco, J. and Reilly, A. (2021) Fashion, Dress and Post-postmodernism. 1st edn. Bloomsbury Visual Arts. Available at: https://www.perlego.com/book/2106953 (Accessed: 7 January 2026).

Canvas Business Model (Year that the page was published/last updated) What Are Nordstrom's Customer Demographics and Target Market?. Available at: https://canvasbusinessmodel.com/blogs/target-market/nordstrom-target-market (Accessed: 8 January 2026).

Chernev, A., Hamilton, R. and Gal, D. (2011) ‘Competing for Consumer Identity: Limits to Self-Expression and the Perils of Lifestyle Branding’, Journal of Marketing, 75(3), pp. 66–82. doi:10.1509/jmkg.75.3.66.

Chopova Lowena (2025) About Page. Available at: https://chopovalowena.com/pages/about (Accessed: 7 January 2026).

Chopova Lowena (2025) Home Page. Available at: https://chopovalowena.com (Accessed: 7 January 2026).

Chopova Lowena (2025) Shop Page. Available at: https://chopovalowena.com/collections/shop-all?page=2 (Accessed: 7 January 2026).

Chopova Lowena (2025) Spring/Summer 2026. Available at: https://chopovalowena.com/pages/ss26 (Accessed: 7 January 2026).

Chopova Lowena (2025) Stockists. Available at: https://chopovalowena.com/pages/stockists (Accessed: 7 January 2026).

Chopova Lowena (2025) Web Exclusives. Available at: https://chopovalowena.com/collections/web-exclusives (Accessed: 7 January 2026).

Juozapaitytė, A. (2025) 'Chopova Lowena: Where Folklore Meets Fierce Fashion', TAAD, Issue information unknown, Page reference unknown. Available at: https://taadmagazine.com/chopova-lowena-where-folklore-meets-fierce-fashion/#:~:text=Emma%20Chopova%20infuses%20the%20brand,raw%20energy%20of%20punk%20subculture0 (Accessed: 7 January 2026).

Lowena, C. (2024) 'This Saturday, hotties in your area will be queueing up at Paynes Wharf Studio, SE8 3GG for all kinds of Chopova Lowena goodies… don’t miss out! 💌' [Instagram]. 26 November. Available at: URL (Accessed: https://www.instagram.com/p/DC10xobNLq9/?img_index=1). 

Morgan, E. (2025) Chopova Lowena Models. Available at: https://www.vogue.co.uk/article/chopova-lowena-ss26 (Accessed: 8 January 2026).

Photographer Unknown (2025) Spring/Summer 2026 Look 2 [Photograph]. Available at: https://chopovalowena.com/cdn/shop/files/00002-chopova-lowena-spring-2026-ready-to-wear-credit-gorunway_jpg.webp?v=1758624626&width=1500 (Accessed: 7 January 2026).

Photographer Unknown (2025) Spring/Summer 2026 Look 3 [Photograph]. Available at: https://chopovalowena.com/cdn/shop/files/00003-chopova-lowena-spring-2026-ready-to-wear-credit-gorunway_jpg.webp?v=1758624637&width=1500 (Accessed: 7 January 2026).

Photographer Unknown (2025) Spring/Summer 2026 Look 8 [Photograph]. Available at: https://chopovalowena.com/cdn/shop/files/00008-chopova-lowena-spring-2026-ready-to-wear-credit-gorunway_jpg.webp?v=1758624680&width=1500 (Accessed: 7 January 2026).

Photographer Unknown (2025) Spring/Summer 2026 Look 13 [Photograph]. Available at: https://chopovalowena.com/cdn/shop/files/00013-chopova-lowena-spring-2026-ready-to-wear-credit-gorunway_jpg.webp?v=1758624818&width=1500 (Accessed: 7 January 2026).

Photographer Unknown (2025) Spring/Summer 2026 Look 23 [Photograph]. Available at: https://chopovalowena.com/cdn/shop/files/00023-chopova-lowena-spring-2026-ready-to-wear-credit-gorunway_jpg.webp?v=1758624818&width=1500 (Accessed: 7 January 2026).

Photographer Unknown (2025) Spring/Summer 2026 Look 25 [Photograph]. Available at: https://chopovalowena.com/cdn/shop/files/00025-chopova-lowena-spring-2026-ready-to-wear-credit-gorunway.jpg-2.webp?v=1758624818&width=1500 (Accessed: 7 January 2026).

Photographer Unknown. (Year Unknown) Karakachani Dress. Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiptX2oVsHf1OVwh7yxeKJHx01t723qNueOB4iLxJkKSOtp_KhJ4BmEzdT6PsLCKnSCFg9DoiTUx0VU4OvAc5Hjdk9rvsQD9g6lXea49mEP6JbTuxTSBQ5M8O3LtFjh-MFMkqM8pdwp8I0/s640/20121026_211845.jpg (Accessed: 7 January 2026).

Pike, N. (2024) ''Our Way Is The Only Way We Are Going To Do This' - Chopova Lowena Were London Fashion's Force To Be Reckoned With', Elle, Issue information unknown, Page reference unknown. Available at: https://www.elle.com/uk/fashion/a62171255/chopova-lowena-interview-2024/ (Accessed: 7 January 2026).

Republic Of Bulgaria National Statistical Institute (2025) Main Labour Force Survey Results, Second Quarter of 2025. Reference number (unavailable).  Available at: https://www.nsi.bg/en/file/30670/Press_LFS_Q022025_ENG.pdf (Accessed: 8 January 2026).

Traditional Bulgarian belt buckles - mysterious array of symbols and messages (2020) Radio Bulgaria, 30 August, 05:00.